document_title: Wonder Woman (2017 film)

question_text: who plays diana's aunt in wonder woman

question_tokens: who plays diana 's aunt in wonder woman

text: Wonder Woman (2017 film)

text: Plot[edit]

text: In present-day Paris, Diana Prince receives a photographic plate of herself and four men taken during World War I, prompting her to recall her past. Daughter of Queen Hippolyta, Diana was raised on the hidden island of Themyscira, home to the Amazonian warrior women created by Zeus to protect mankind. Hippolyta shares the Amazonian history with Diana, including how Ares, Zeus's son, became jealous of humanity and orchestrated its destruction. When the other gods attempted to stop him, Ares killed all but Zeus, who wounded Ares and forced his retreat. Zeus left the Amazons a weapon, the "Godkiller", to prepare them for Ares' return.

text: Initially forbidding Diana to train as a warrior, Hippolyta allows her sister Antiope to train Diana, but only if the training is more rigorous that any other warrior. In 1918, Diana, now a young woman, rescues American pilot Captain Steve Trevor when his plane crashes off the Themyscira coast. The island is soon invaded by a German cruiser pursuing Trevor. The Amazons kill the crew, but Antiope sacrifices herself to save Diana. Steve is interrogated with the Lasso of Hestia, where he reveals that a war is consuming the outside world, and that he is an Allied spy. He has stolen a notebook of the Spanish chief chemist Isabel Maru, who is attempting to engineer a deadlier form of mustard gas, under the orders of General Erich Ludendorff. Diana believes Ares is responsible for the war. She arms herself with the "Godkiller" sword, the lasso, and her armor before leaving Themyscira with Steve to find and destroy Ares.

text: In London, they deliver Maru's notebook to the Supreme War Council, where Sir Patrick Morgan is trying to negotiate an armistice with Germany. Diana translates Maru's notes and reveals that the Germans plan to release the deadly gas at the War Front. Although forbidden by his commanders to act, Steve, with secret funding from Sir Patrick, recruits spy Sameer, marksman Charlie, and smuggler Chief to help prevent the gas from being released. When the team reaches the Western Front in Belgium, they are halted by the enemy lines. Diana goes alone through No Man's Land and captures the enemy trench, allowing the Allied forces to help her liberate the village of Veld. The team briefly celebrates, while Diana and Steve grow closer romantically.

text: The team learns a gala will be held at the nearby German High Command. Steve and Diana each infiltrate the party, with Steve intending to locate the gas and destroy it while Diana intends to kill Ludendorff, believing that he is Ares and killing him will end the war. Steve stops her to avoid jeopardizing the mission, and Ludendorff unleashes the gas on Veld, killing its inhabitants. Outraged, and blaming Steve for intervening, Diana pursues Ludendorff to a base where the gas is being loaded into a bomber aircraft bound for London. Diana fights and kills Ludendorff but is confused when his death does not stop the war.

text: Sir Patrick appears and reveals himself as Ares. He tells Diana that although he has subtly given humans ideas and inspirations, as well using Ludendorff and Maru as pawns, it is ultimately their decision to cause violence as they are inherently corrupt. She attempts to kill Ares with the Godkiller sword but he destroys it. Ares reveals Diana to be the "Godkiller", as the daughter of Zeus and Queen Hippolyta, but he fails to persuade her to help him destroy humankind to restore paradise on Earth. While the two battle, the others on Steve's team destroy Maru's laboratory. Steve pilots the bomber carrying the gas to a safe altitude and detonates it, sacrificing himself in the process. Ares attempts to direct Diana's rage and grief at Steve's death by convincing her to kill Maru, but memories of her experience with Steve cause her to realize that mankind has good within it. She spares Maru and redirects Ares' lightning into him, killing him. Later, the team celebrates the end of the war. In the present day, Diana sends an email to Bruce Wayne thanking him for the photographic plate of her and Steve, and reaffirms her new mission to protect and give love to the world.

text: Cast[edit]

text: Gal Gadot as Diana:

tag: ul

text: Chris Pine as Steve Trevor:

text: Robin Wright as Antiope:

text: Danny Huston as General Erich Ludendorff:

text: David Thewlis as Ares:

text: Connie Nielsen as Hippolyta:

text: Elena Anaya as Isabel Maru / Doctor Poison:

text: Lucy Davis as Etta Candy:

text: Saïd Taghmaoui as Sameer:

text: Ewen Bremner as Charlie:

text: Eugene Brave Rock as Chief Napi:

text: Lisa Loven Kongsli as Menalippe:

text: Additionally, Mayling Ng, Florence Kasumba, Madeleine Vall Beijner, Hayley Jane Warnes and Ann Wolfe portray Orana, Acantha, Egeria, Aella and Artemis, respectively, all of whom are Amazons.[61][62][63][64] James Cosmo appears as Field Marshal Haig, Steffan Rhodri appears as Colonel Darnell, and Dutch model Doutzen Kroes portrays the Amazon Venelia.[63] Samantha Jo was cast as the Amazonian Euboea, and previously played the Kryptonina, Car-Vex, in Man of Steel.[65] Zack Snyder also makes a brief cameo appearance in the film as an unnamed soldier.[66]

text: Production[edit]

text: Background[edit]

text: Development for a live action Wonder Woman feature film began in 1996, with Ivan Reitman attached as producer and possible director.[67] In 1999 the project became attached to Jon Cohen, who adapted Wonder Woman for producer Joel Silver, with the hope that Sandra Bullock would star.[68] By 2001, Todd Alcott was hired to write the screenplay, with Silver Pictures backing the project.[69] At that time, performers such as Mariah Carey and Catherine Zeta-Jones were also rumored to be possible candidates for the role of Wonder Woman.[70] Leonard Goldberg, however, focused on Bullock[71] who said that she was approached for the role. In addition, wrestler Chyna also expressed interest. Lucy Lawless, the star of Xena: Warrior Princess, was also under consideration, though she stated that she would have been more interested if Wonder Woman was portrayed as a "flawed hero."[72] The screenplay went through various drafts written by Alcott, Cohen, Becky Johnston, and Philip Levens,[73] and by August 2003, Levens had been replaced by screenwriter Laeta Kalogridis.[74]

text: In March 2005, Warner Bros. and Silver Pictures announced that Joss Whedon would write and direct the film,[75] with a reported salary was of $2 to $3 million.[76] Since Whedon was directing Serenity at the time, and required time to research Wonder Woman's background, he did not begin the screenplay until late 2005.[77][78][79] Early drafts of his screenplay included Steve Trevor as the narrator, a fierce battle between Diana and her mother over Trevor's welfare, and after leaving Themyscira, his need to frequently rescue a Diana rendered helpless by the modern world.[80] Whedon was not able to complete a final version of his screenplay however, and left the project in 2007.[81][82]

text: Although Whedon stated in May 2005 that he would not cast the part of Wonder Woman until he finished the script,[83] actors such as Kate Beckinsale were linked to the part.[84] In 2010 however, Whedon admitted that he did have an actress in mind for the part, stating that "Wonder Woman was basically Angelina Jolie."[80][85] A few years later in May 2017, Indie Ground Films leaked a version of Whedon's script in-progress online.[86] Some reacted negatively to it on social media in June 2017, shortly after the release of Patty Jenkins version of the film.[87][88][89][90][91] When asked about this response to his script, Jenkins said in a June 2017 interview that she has not read it and that Whedon is "in the DC universe now, and I don't think there's any reason to go there […] It was what it was. I'm lucky that I'm the person who got to do it. But I don't see what would be beneficial about comparing what he would've done versus what I would have done."[92][93]

text: A day before Whedon's departure from Wonder Woman, Warner Bros. and Silver Pictures purchased a spec script for the film written by Matthew Jennison and Brent Strickland. Set during World War II, the script impressed executives at Silver Pictures.[82] However, Silver stated that he had purchased the script because he did not want the rights reverting; while stating the script had good ideas, Silver did not want the film to be a period piece.[94] By April 2008, Silver hired Jennison and Strickland to write a new script set in contemporary times that would not depict Wonder Woman's origin, but explore Paradise Island's history.[95] In November 2008, Beyoncé met with representatives from DC Comics and Warner Bros., to discuss her interest in portraying Wonder Woman.[96]

text: In 2010, Warner Bros. stated that a film was in development, along with films based on DC Comics superheroes the Flash and Aquaman.[97] Both Wonder Woman and Aquaman were still under consideration for solo film subjects as of June 2013.[98] DC Chief Diane Nelson said Wonder Woman "has been, since I started, one of the top three priorities for DC and for Warner Bros. We are still trying right now, but she's tricky."[99] On October 5, 2013, WB chairman Kevin Tsujihara said he wanted to get Wonder Woman in a film or on TV.[100] Shortly afterward, Paul Feig said he had pitched the studio an idea for Wonder Woman as an action-comedy film.[101][102] The studio then began to search for female directors to direct the film.[103] While Michelle MacLaren was the studio's initial choice to direct (and while she initially indicated interest),[104][105][106] she eventually left the project due to creative differences.[107]

text: Development[edit]

text: In 2015, Patty Jenkins accepted an offer to direct Wonder Woman,[108] based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs.[109] Of this version, Gadot stated that,

text: for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.[5]

text: This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice,[110] placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II).[111] As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character.[112] In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus.[10][113] Jenkins cited Richard Donner's Superman as an inspiration.[114]

text: Casting[edit]

text:
"I remember when I read in the news that Wonder Woman had been cast and my heart sank […] I'm sure we wouldn't have made the same choice. And then I started paying attention to her, and watching her and looking at her and it was just unbelievable. Frankly, I think they did a better job than I could have because I don't know that I would have scoured the earth as hard to find her […] They were looking for all the same things I would have looked for—all the values that Wonder Woman stands for exuding from someone in an honest way, and boy did they find it […] She shares every quality with Wonder Woman and that's no joke. It's one of those rare things. You need someone who can appear to be Wonder Woman on screen […] Every once in a while, there's superhero casting that transcends, because that person is so authentic to the character that it becomes identified with them, like Lynda Carter or Christopher Reeve."

– Director Patty Jenkins[115] in response to the interview questions: "Let's talk a bit about Gal. You inherited her from Zack Snyder. Was it difficult to not get to choose your own Wonder Woman?" and "What is it about Gal that makes her such a good fit?"

tag: div

text: In late 2013, Zack Snyder cast Gal Gadot in the role of Wonder Woman for the 2016 film, Batman v Superman: Dawn of Justice over Élodie Yung and Olga Kurylenko.[116][117][118][119] Some fans initially reacted to this choice by criticizing Gadot's appearance.[120] Snyder would later comment on his decision to cast Gadot, stating that he

text: tested a bunch of actresses, as you can imagine. But the thing with Gal is that she's strong, she's beautiful, and she's a kind person, which is interesting, but fierce at the same time. It's that combination of being fierce but kind at the same time that we were looking for.[121]

text: Gadot described Diana as having "the heart of a human so she can be emotional, she's curious, she's compassionate, she loves people. And then she has the powers of a goddess. She's all for good, she fights for good."[5] She also said that Diana has "many strengths and powers, but at the end of the day she's a woman with a lot of emotional intelligence".[122] As to how her character is different from her appearance in Batman v Superman: Dawn of Justice, Gadot said "We go back 100 years to when she's more naive", further explaining, "She's this young idealist. She's pure. Very different to the experienced, super-confident, grown-up woman you've seen".[123] Gadot underwent a diet and training regimen, practiced different martial arts and gained 17 pounds of muscle for the role.[124][125] Gadot was previously offered a different role (as a villain) in Man of Steel, which she declined because she was pregnant at the time; this allowed her to later be cast as Wonder Woman in the film's follow-up.[126] Gadot signed a three-picture deal.[118] She was only paid a base salary of $300,000 for the film itself.[127]

text: Chris Pine was cast as Steve Trevor,[19][128] a character he described as a "rogue-ish, cynical realist who's seen the awful brutish nature of modern civilization" and added that he is a "worldly guy, a charming guy".[129] He signed a multi-picture deal.[19] Lucy Davis' performance as Etta Candy is the first live-action cinematic portrayal of the character.[130] As well, Elena Anaya's performance as Doctor Poison is the cinematic debut of that character. Nicole Kidman was in negotiations for the role of Queen Hippolyta, but was forced to drop out due to scheduling conflicts with Big Little Lies.[131][132]

text: Filming[edit]

text: Production began on November 21, 2015,[133][134] under the working title Nightingale.[135][136] Among the film sets were Lower Halstow, Kent,[137] Australia House,[138] and the Sassi di Matera,[139] Castel del Monte[139] and Camerota[140] in Southern Italy. Matthew Jensen was the director of photography,[141] filming in the United Kingdom, France and Italy.[142] Production in London ended on March 13, 2016.[143] On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot.[144] Production ended on May 9, 2016.[145] Patty Jenkins and director of photography Matt Jensen revealed that the film's look was inspired by painter John Singer Sargent.[146] Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.[147]

text: To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy.[148] It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".[149]

text: Post-production[edit]

text: Bill Westenhofer served as the visual effects supervisor for the film[150] and Martin Walsh served as editor.[141]

text: Music[edit]

text: On November 3, 2016, Rupert Gregson-Williams was hired to write and compose the film's music.[151] He was joined by Evan Jolly, Tom Howe,[152] Paul Mounsey,[153] and Andrew Kawczynski,[154] who provided additional music. The soundtrack was released on CD, digital, and vinyl the same day as the film.[155]

text: Australian musician Sia sang a song for the film, titled "To Be Human", featuring English musician Labrinth. Written by Florence Welch and Rick Nowels, the track is also featured on the soundtrack.[156]

text: Additional music featured in the film are: "Another Little Drink Wouldn't Do Us Any Harm" by Clifford Grey and Nat Ayer and performed by Edgar Trevor and Cecil Cooper; "Molly O'Morgan" written by Fred Godfrey and Will Letters and performed by Ella Retford; "It's a Long Way to Tipperary" written by Jack Judge and Harry Williams; "Sous les ponts de Paris" written by Jean Rodor and Vincent Scotto and performed by Lucienne Delyle; "I'll Walk Beside You" written by Edward Lockton and Alan Murray and performed by Ewen Bremner; "Green Grow the Rushes, O" written by Robert Burns and performed by Ewen Bremner; and "Schatzwalzer Op. 4" written by Johann Strauss II and performed by the Berlin String Quartet.[157] Also features samples from the movie's soundtrack "Is She with You" from Batman v Superman: Dawn of Justice composed by Hans Zimmer and Junkie XL.

text: Release[edit]

text: Wonder Woman had its world premiere on May 25, in Los Angeles.[158] The film's London premiere, which was scheduled to take place on May 31, 2017 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing.[159] The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX,[160] on June 2, 2017, after originally being scheduled for June 23.[161][162] Belgium, Singapore and South Korea received the film first, with May 31 openings.[163][164][165] On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.[166]

text: Marketing[edit]

text: The success of the superhero television series Supergirl informed the marketing and promotion strategy used for Wonder Woman.[167] According to Time Warner chief marketing officer Kristen O'Hara, they wanted to approach the Wonder Woman marketing campaign in a light manner, similar to how they did with Supergirl. O'Hara elaborated that the modest campaign route they took for Supergirl aided in establishing a large central fanbase among women well in advance of the series, which reportedly generated 5 million female superhero fans in one week.[167] They were then able to model over time, and grow that audience leading up to the 15-months-later release of Wonder Woman.[167] Though neither the film nor the series are aimed exclusively at women, the latter's campaign gave them their first opportunity to begin collecting data about female superhero fans.[167] In May 2017, a promo for Wonder Woman was released during the season finale of Supergirl, featuring a remix of the song "These Boots Are Made for Walkin'" and Supergirl (Melissa Benoist) wearing Wonder Woman's boots.[168] The promo included an appearance by Lynda Carter, star of the 1970s Wonder Woman, who plays the American president on Supergirl.[168]

text: The costs for television advertisements for Wonder Woman are higher in comparison to that of previous DCEU film Suicide Squad. Warner Bros. has spent over $3 million on advertisements for Wonder Woman, whereas they spent $2.6 million on advertisements for Suicide Squad.[169]

text: Ticket selling site Fandango reported that Wonder Woman rounded the final leg of its marketing campaign as the most anticipated blockbuster of summer 2017, according to a poll conducted by 10,000 voters, the biggest survey in company history.[170] Separately, Fandango also found that 92% of people surveyed said that they are looking forward to seeing a film that features a standalone woman superhero, and 87% wished Hollywood would make more women-led superhero films.[171]

text: In May 2017, NASCAR driver Danica Patrick drove her No. 10 car with a Wonder Woman paint scheme at the Go Bowling 400 in Kansas and at the Monster Energy Open in Charlotte.[172]

text: Home media[edit]

text: The film was released on Digital HD on August 29, 2017 and on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on September 19, 2017.[173]

text: Controversies[edit]

text: Bans[edit]

text: On May 31, Wonder Woman was banned in Lebanon after the Campaign to Boycott Supporters of Israel asked the Lebanese government's Ministry of Economy and Trade to block the film because its star, Gal Gadot, had served in the Israeli military.[174] The Lebanese government did not, however, ban Gadot's Fast & Furious films which did screen in Lebanon.[175][176] On June 7, Variety reported that a Tunisian court suspended the theatrical release of Wonder Woman after a lawsuit brought by the Al-Chaab party and the Tunisian Association of Young Lawyers to have the film blocked due to Gadot's Israeli citizenship, military service, and public comments in support of the Israeli military during the 2014 war in Gaza.[177] Jordan was reportedly also considering a ban of the film and suspended screenings pending a decision,[178] but on June 11, Al Bawaba reported that the government decided not to do so, as there was no legal precedent for it.[179]

text: Women-only screenings[edit]

text: Some men were unhappy with women-only screenings held at the Alamo Drafthouse Cinema in Austin, with some opponents of the gender-restricted screening stating on platforms such as Facebook that such screenings were discriminatory against men.[180][181][182]

text: A gay Albany Law School professor initiated a complaint with Austin's Equal Employment and Fair Housing Office claiming discrimination against male prospective customers and employees of the theater.[183] The chain responded with an online statement saying the event "may have created confusion—we want everybody to see this film" and announced a similar event at their Brooklyn location. Tickets sold out in less than an hour, prompting the chain to schedule additional screenings.[180] On July 18, Alamo Drafthouse proposed settlement offers of a Wonder Woman DVD to the complainants, stating "Respondent did not realize that advertising a 'women's only' screening was a violation of discrimination laws"[184]

text: Reception[edit]

text: Box office[edit]

text: As of October 8, 2017[update], Wonder Woman has grossed $412.4 million in the United States and Canada and $408.8 million in other territories for a worldwide total of $821.2 million, against a production budget of $149 million.[4] Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million[185] to $460 million.[186]

text: North America[edit]

text: In May 2017, early tracking had Wonder Woman opening with $65–75 million, and possibly as high as $105 million.[187][188][189][190][185] The film opened Friday, June 2, 2017, across 4,165 theaters and made $38.7 million on its opening day, including $3.7 million in IMAX. It was the biggest single-day gross for a woman-directed film, ahead of the $35.9 million opening Friday of Catherine Hardwicke's Twilight in 2008 and the biggest opening day for a woman-led comic book superhero film, ahead of Ghost in the Shell ($7 million).[191] This included $11 million it made from Thursday previews, also the best start for a film directed by a woman, surpassing Fifty Shades of Grey's $8.6 million which was directed by Sam Taylor-Johnson, and the third-biggest of the year, behind Beauty and the Beast and Guardians of the Galaxy Vol. 2. Of that, $1.5 million came from IMAX screenings.[192][193]

text: Earning a total of $103.3 million on its opening weekend, the film recorded a number of records: the biggest domestic opening of all time for a female director (surpassing previous record holder Fifty Shades of Grey by Sam Taylor-Johnson), the biggest DC Comics release without Batman or Superman (ahead of Constantine), the sixth-biggest non-sequel comic book superhero debut ever, as well as the sixth-biggest June debut weekend.[194] Its three-day opening alone made it the highest-grossing woman-led comic book superhero film ever (surpassing Ghost in the Shell).[195] It was also the 16th superhero film to cross $100 million in its domestic box office launch.[196] About 9% ($9 million) of the opening weekend came from IMAX screenings from 343 theaters.[197] In its second week the film grossed $58.5 million, again topping the box office. It marked a 43.3% drop for its second weekend at the box office, better than the average 50–60% decline superhero films tend to see, and was a better second weekend than Batman v Superman: Dawn of Justice ($51.3 million) and Suicide Squad ($43.5 million).[198] In its third weekend it grossed $40.8 million, finishing second behind newcomer Cars 3 ($53.5 million). It was the second-best third weekend ever for Warner Bros. and was nearly double what Batman v Superman ($23.3 million), Suicide Squad ($20.9 million) and Man of Steel ($20.7 million) made in their third weekends. It earned $24.9 million and $15.7 million in its fourth and fifth weekends, respectively, dropping just 39% and 36% despite facing rough competition from opening films Transformers: The Last Knight and Despicable Me 3.[199] It eventually became the highest-grossing film directed by a woman, surpassing the previous records of Jennifer Yuh Nelson's Kung Fu Panda 2 and Phyllida Lloyd's Mamma Mia!.[8] By August 8, the film had garnered $400 million in ticket sales, becoming the second female-fueled film (after Disney's Beauty and the Beast), Warner Bros.' third-biggest movie (after Christopher Nolan's The Dark Knight and The Dark Knight Rises), holding the record of the highest origin superhero film; supplanting the previous record held by Spider-Man (2002) and also becoming the highest-earning film with a female director in terms of domestic earnings, surpassing Frozen (2013).[200][201]

text: International[edit]

text: Internationally, the film was released day-and-date with its North American debut in 55 markets (72% of its total release), and was projected to debut with anywhere between $92–118 million.[185] It ended up opening to $125 million, including $38 million in China, $8.5 million in Korea, $8.4 million in Mexico, $8.3 million in Brazil and $7.5 million in the UK.[202] In its second week of release, the film brought in another $60 million, including holding the top spot on France, the UK, Australia and Brazil.[203] As of June 25, 2017, the biggest markets of Wonder Woman outside North America are China (US$90 million) followed by Brazil (US$34 million), UK (US$28 million) and Australia (US$24 million). In the Philippines, it broke 2017 box office record for highest-earning non-holiday opening day—earning $4.7 million and becoming the 6th-most successful commercial film of all time as well overtaking the record set by Batman v Superman: Dawn of Justice.[204][205][206] The film opened in its last market, Japan, on August 25 and debuted to $3.4 million, helping the international gross cross the $400 million mark.[207]

text: Critical response[edit]

text: Wonder Woman received largely positive reviews, with some critics calling it the best film in the DC Extended Universe, and praising Jenkins' direction, performances, chemistry of Gadot and Pine and musical score.[7][211] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 92% based on 346 reviews, with an average rating of 7.6/10. The site's critical consensus reads, "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion."[212] It is the highest-rated superhero film on the site.[213][note 1] On Metacritic, which assigns a normalized rating, the film has a score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[214] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[215]

text: Critics commented favorably on Gadot's performance and Chris Pine's Steve Trevor.[216][217][210] Andrew Barker of Variety found the film to be more lighthearted than recent DC Comics films: "Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins' Wonder Woman provides a welcome respite from DC's house style of grim darkness—boisterous, earnest, sometimes sloppy, yet consistently entertaining—with star Gal Gadot proving an inspired choice for this avatar of truth, justice, and the Amazonian way."[218] Vox stated "Trevor is the superhero girlfriend comic book movies need".[219] The San Francisco Chronicle's Mick LaSalle lauded the performances of Gadot, Pine, Huston, and Thewlis while commending the film's "different perspective" and humor.[220] Richard Roeper of Chicago Sun-Times described Gadot's performance as inspirational, heroic, heartfelt and endearing and the most "real" Wonder Woman portrayal.[221]

text: A. O. Scott of The New York Times wrote that it "briskly shakes off blockbuster branding imperatives and allows itself to be something relatively rare in the modern superhero cosmos. It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like … what's the word I'm looking for? A movie. A pretty good one, too."[222] Michael Phillips of Chicago Tribune compared the film to Captain America: The First Avenger, noting that as with "the first Captain America movie over in the Marvel Comics universe, DC's Wonder Woman offers the pleasures of period re-creation for a popular audience. Jenkins and her design team make 1918-era London; war-torn Belgium; the Ottoman Empire; and other locales look freshly realized, with a strong point of view. There are scenes here of dispossessed war refugees, witnessed by an astonished and heartbroken Diana, that carry unusual gravity for a comic book adaptation."[223] Katie Erbland of IndieWire commended its thematic depth, explaining that "Wonder Woman is a war movie. Patty Jenkins' first—and we hope not last—entry into the DC Expanded Universe is primarily set during World War I, but while the feature doesn't balk at war-time violence, it's the internal battles of its compelling heroine that are most vital."[224] Alonso Duralde of TheWrap similarly felt that, "Diana's scenes of action are thrilling precisely because they're meant to stop war, not to foment it; the idea of a demi-god using love to fight war might sound goofy in the abstract, but Jenkins makes the concept work."[225] Ann Hornaday of The Washington Post praised Gadot and Pine's performances as well the film's detailed plot and narrative while comparing of some slow-motion action sequences to The Matrix.[226] Stephanie Zacharek of Time magazine hailed the film as a "cut above nearly all the superhero movies that have been trotted out over the past few summers" while praising Gadot's performance as "charming" and "marvelous" and commending Jenkins' direction of the film as a step forward for women directors in directing big-budget blockbuster films in Hollywood.[227]

text: Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman, and Wonder Woman is Gal Gadot."[210] Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie."[210] The Federalist suggests that Wonder Woman is "a story of Jesus". "The movie is wrapped up in faux Greek mythology, true, but there's no mistaking the Christology here."[228] "Perhaps Christ in the form of a beautiful and kick-ass Amazon is all that our contemporary society can handle right now", stated M. Hudson, a Christian feminist.[228] On HuffPost cultural critic, G. Roger Denson, who regards the superhero genre as a source of contemporary "Mainstream Mythopoetics" ("the making of new yet vitally meaningful, if not symbolic, stories filled with imagery reflecting, yet also shaping and advancing, the political, legal, moral and social practices of today"), wrote that the "No Man's Land" scene "that people are crying over in theaters and raving about afterward happens to be among the most powerfully mythopoetic scenes ever filmed at the same time it is one of the oldest myths to have been utilized by artists and writers after it had been invented by early military strategists and leaders." Specifically "used by director Patty Jenkins", the scene raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world".[229]

text: Steve Rose in The Guardian criticized the film for failing to explore the material's potential for "patriarchy-upending subversion".[230] Peter Travers of Rolling Stone criticized the film's over-reliance on exposition: "Wonder Woman is hobbled by a slogging origin story and action that only comes in fits and starts. Just when Gadot and director Patty Jenkins…are ready to kick ass, we get backstory."[231]

text: "Gas was intended to win the war. On that much Wonder Woman is absolutely right." said David Hambling in Popular Mechanics.[232] Rachel Becker of The Verge stated that despite the scientific liberties of using a "hydrogen-based" chemical weapon as a plot device, the film succeeds in evoking real and horrifying history. "First off, mustard gas is such a horrible, terrifying weapon, it doesn't need to be made more potent. But if you were a chemist bent on raining destruction on the Allied forces, you wouldn't do it by replacing the sulfur atom in mustard gas with a hydrogen atom. You'd know that sulfur is the linchpin holding together this poisonous molecule."[233]

text: Feminist debate[edit]

text: Wonder Woman has been the subject of a discussion regarding the appearance and representation of female power in general, and of female action heroes in particular[234] since her initial 1941 appearance in Sensation Comics,[234] as she was created to document "the growth in the power of women", while wearing "a golden tiara, a red bustier, blue underpants and knee-high, red leather boots."[235] She was blacklisted a year later in 1942 in the "Publications Disapproved for Youth" because, the group behind the list argued, she was "not sufficiently dressed".[235][236]

text: A few decades later, Second-wave feminist Gloria Steinem's[237] Ms. Magazine debuted in 1972 with an image of Wonder Woman on the cover. Historian Tim Hanley suggested that this move shifted "the focus away from female superiority to sisterhood and equality, essentially making her a mascot of the women's movement".[234][238][239] This perception shifted over the years, however, as demonstrated in December 2016 when the United Nations decided to drop the title of "honorary ambassador for the empowerment of women and girls" which it had given to Wonder Woman a few months before in a ceremony that included Lynda Carter and Gal Gadot (and had referenced the DCEU films that included the character).[240] The title was dropped in response to claims that Wonder Woman undermines female empowerment due to "an overtly sexualised image at a time when the headline news in United States and the world is the objectification of women and girls".[241][242][238] Wonder Woman director Patty Jenkins responded to the U.N.'s decision by stating that she thinks "it's sexist to say you can't have both".[243]

text: The debate continued with the release of Jenkins' 2017 film, Wonder Woman, which according to the BBC had "some thinking it's too feminist and others thinking it's not feminist enough".[244][245][246][247][248] Kyle Killian found an inherent contradiction in the construction of Wonder Woman as "a warrior" whom, she states, is also highly sexualized. Killian thus suggests that these elements "should not be the focus of a kickass heroine—her beauty, bone structure, and sexiness—if she is to be a feminist icon".[249] Theresa Harold concurred, comparing Wonder Woman to Katniss Everdeen (of The Hunger Games), who "didn't have to wear a teenager's wet dream of a costume to fight in".[250] Christina Cauterucci also felt that Wonder Woman's ability to be considered a "feminist antidote" was undermined by her "sex appeal".[251]

text: Jenkins disagrees with this line of critique, however. She has stated that she was raised by a Second wave "feminist mother",[252][253] who taught her to be "both super aware that there had been sexism but also: 'Congratulations – thank you, now I get to do whatever I want, Mom!'"[252] Jenkins thus notes that it is this upbringing which has led her to question a feminist critique of Wonder Woman’s costume.[254] When she was working on her own version of Wonder Woman's "Gladiator" re-design of the outfit (in the 2016 film Batman v Superman: Dawn of Justice)[255] Jenkins decided that Wonder Woman (as well as the other Amazons) "shouldn't be dressed in armor like men [...] It should be different [...] I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same time – the same way men want Superman to have huge pecs and an impractically big body."[15] Jenkins also notes that she is "frustrated" by the critique of Wonder Woman's appearance, stating "when people get super critical about her outfit, who's the one getting crazy about what a woman wears? That's who she is; that's Wonder Woman."[253]

text: Critics such as Valerie Estelle Frankel support Jenkins' vision. Frankel argues that the film subverts the male gaze,[254] stating that the construction of Wonder Woman tends to shift every few decades as it reflects the state of feminism during different time periods, including Third-wave feminism (which reflects Jenkins' approach).[254][256][257] Zoe Williams offers a similar argument stating that while Wonder Woman "is sort of naked a lot of the time" it isn't, at the same time, "objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act".[258] Williams then juxtaposes Wonder Woman to past female action heroes such as Sarah Connor, Ellen Ripley, and Lara Croft, whom she suggests were all constructed for the male gaze, in which a "female warrior becomes a sex object", (a point which she argues that Jenkins directly references in the film).[258] Gloria Steinem thought that the film "was very good" as it made Wonder Woman's "Amazon origin story clear; she was stopping war, not perpetuating it." Steinem also noted that she knew "some women were disappointed by all the makeup, but I may be desperate—I was just happy that the Amazons had wild hair!" Her only complaint lay in the choice to eliminate the World War II setting as the Wonder Woman comic book developed in response to existing comics that were "so sadistic and racist that there was a congressional hearing on the subject".[259] Gal Gadot concurs with Jenkins, arguing that the character "is a feminist"[260] as "feminism is about equality and choice and freedom. And the writers, Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal."[261] In contrast, other critics refer to Jenkins' vision of Wonder Woman as "an implausible post-feminist hero".[236][262]

text: American director James Cameron continued this debate through his critique of the representation of female power in Jenkins' film. In an August 2017 interview with The Guardian, Cameron qualifies Jenkins' vision of Wonder Woman as "an objectified icon" and called the film "a step backwards". In contrast, he states, his character Sarah Connor (from his Terminator films) "was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit."[263] Jenkins stated in response that Cameron's "inability to understand what 'Wonder Woman' is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman". She further argued "there is no right and wrong kind of powerful woman" because "if women have to always be hard, tough and troubled to be strong, and we aren't free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven't come very far have we."[264] Reaction to this debate was mixed. Julie Miller sided with Cameron whom she states refers to himself as "a pretty hardcore feminist" and who told Vulture that "I have no problem writing a script in which the males become subservient to the females, which is what happens in Aliens [...] It's up to Ripley to win the day." In contrast, Miller argues that Jenkins and Gadot envisioned Wonder Woman as "a woman who exuded both femininity and strength, along with genuine confusion as to why men would treat women differently than they do other men".[265] Susannah Breslin also agreed with Cameron, describing Jenkins' Wonder Woman as "a Playmate with a lasso" and "female power with no balls".[266] Others were more critical of Cameron's critique.[267] An article in Newsweek suggested that Cameron's films include "lot of objectification", and included quotes from Hollywood celebrities such as Jesse McLaren who commented that "James Cameron's just confused there's a female hero whose motivations aren't centered around motherhood."[268] Noah Berlatsky found areas of agreement between both Cameron and Jenkins, stating that while Cameron's objection is "an old point that's been made over and over for decades", Jenkins film isn't "solely focused on objectifying Gal Gadot for a male audience".[269]

text: A few weeks later in September, Cameron reiterated his criticism in an interview with the Hollywood Reporter. He compared Gal Gadot's representation of the character to Raquel Welch's films in the 1960s,[270] and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued that Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object".[270] He also stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking in Wonder Woman. I thought it was a good film. Period."[270] Former Wonder Woman actress Lynda Carter responded to Cameron's Hollywood Reporter interview by asking him to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character" she does. She also refers to Cameron's critiques as "thuggish jabs at a brilliant director" that "are ill advised" as the "movie was spot on". Carter also states that she has the authority to make these observations because she has "embodied this character for more than 40 years".[271][272][273] A month later, Jenkins responded to Cameron's comments once again in an interview with Variety, stating that she "was not upset at all" as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect."[274] Tricia Ennis was also critical of Cameron's statements, stating that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She also states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character [...] You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments [...] Cameron is using his position of power as a respected producer and director to silence women."[275]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Wonder Woman
Nominated
[276]

Golden Trailer Awards
June 6, 2017
Best of Show
Won
[277]
[278]

Best Fantasy / Adventure

Best Summer 2017 Blockbuster Poster

Teen Choice Awards
August 13, 2017
Choice Action Movie
[279]
[280]
[281]

Choice Action Movie Actor
Chris Pine

Choice Action Movie Actress
Gal Gadot

Choice Movie Ship
Gal Gadot & Chris Pine
Nominated

Choice Liplock
Chris Pine & Gal Gadot

Choice Summer Movie
Wonder Woman

Choice Summer Movie Actor
Chris Pine

Choice Summer Movie Actress
Gal Gadot

Dragon Awards
September 3, 2017
Best Science Fiction or Fantasy Movie
Wonder Woman
Won
[282]

text: Sequel[edit]

text: Originally signed for three feature films, with Wonder Woman and Justice League being her second and third films, Gadot signed an extension to her contract for additional films.[283] Jenkins initially signed for only one film,[284] but in an interview with Variety, Geoff Johns revealed that he and Jenkins are writing the treatment for a Wonder Woman sequel and that he has a "cool idea for the second one". At the 2017 San Diego Comic Con, Warner Bros. officially announced a sequel would be released on December 13, 2019, and would be titled Wonder Woman 2.[9][285][286] Later, Jenkins was officially signed to return as director, with confirmation that Gadot will be returning as the titular role.[287] On August 19, 2017, actress Geena Davis stated that she would like very much to play a role in Wonder Woman 2 and that she is in talks with Jenkins about that matter.[288] Days later, the studio hired Dave Callaham to co-write the film's script with Jenkins and Johns.[289]

text: Notes[edit]

text: Jump up ^ This is by an adjusted Tomatometer with at least 20 reviews each that, uses a weighted Bayesian based formula to account for the differences in ratings.

tag: ol


document_title: Mister Ed

question_text: who did the voice of mr. ed the talking horse

root

text: Mister Ed

text: Beginnings[edit]

text: The Mister Ed show concept was derived from a series of short stories by children's author Walter R. Brooks, which began with The Talking Horse in the September 18, 1937, issue of Liberty magazine.[3] Brooks is otherwise best known for the Freddy the Pig series of children's novels, which likewise featured talking animals that interact with humans. Sonia Chernus, secretary to director Arthur Lubin, introduced Lubin to the Brooks stories and is credited with developing the concept for television.

tag: p

text: The show's concept resembles that of the Francis the Talking Mule movies in which an equine title character talks, but only to one person, thus causing a variety of opportunities and frustrations. The first six Francis films (1950–55) were also directed by Lubin.[4]

text: Lubin wanted to make a Francis TV series but had been unable to secure the rights. However someone told him about Brooks' series of stories. He optioned these for TV.[5]

text: Comedian George Burns financed the original pilot for Mister Ed which was shot at his McCadden Studio in Hollywood at a cost of $70,000.[5] Scott McKay played Wilbur. Jack Benny was also involved behind the scenes.[6] Unable to sell the show to a network, Lubin decided to sell the show into syndication first. He managed to get single sponsor identification for the program on over 100 stations. The show was recast with Alan Young in the lead. Production began in November 1960, although Lubin did not direct early episodes because he was working in Europe on a film. The first 26 episodes were well received enough for the show to be picked up by CBS.[5][7]

text: Synopsis[edit]

text: The show in effect had two leads operating as a comedy team. The title role of Mister Ed, a talking palomino, was played by gelding Bamboo Harvester and voiced by former Western film actor Allan Lane. The role of Ed's owner, a genial but somewhat klutzy architect named Wilbur Post, was played by Alan Young. Many of the program's gags follow from Mister Ed's tendency to talk only to Wilbur, his skills as a troublemaker, and his precociously human-like behaviour that far exceeds anything those around Wilbur expect of a horse. A running gag is other characters hearing Wilbur talking to Ed and asking to whom he is talking. Another running gag centers on Wilbur being accident-prone and inadvertently causing harm to himself and others. According to Lubin, Young was chosen for the lead role because he "just seemed like the sort of guy a horse would talk to".[4]

text: The other main character throughout the series is Wilbur's generally tolerant young wife, Carol (Connie Hines). The Posts also have two sets of neighbors, to whom Ed delights in making Wilbur appear as eccentric as possible. They included the Addisons, Roger (Larry Keating) and his wife Kay (Edna Skinner), who both appeared from the pilot episode until Keating's death in 1963; thereafter, Skinner continued appearing as Kay, without mention of Roger's absence, until the neighbors were recast. During this period, Kay's brother Paul Fenton (Jack Albertson), who had made occasional appearances before, appears. Following the Addisons, the Posts' new neighbors were Col. Gordon Kirkwood, USAF (Ret.), Wilbur's former commanding officer (Leon Ames), and his wife Winnie (Florence MacMichael). They appeared on the series from 1963 to 1965.[2] In the final season, the Kirkwoods were phased out, while Carol's grumpy and uptight father, Mr. Higgins (Barry Kelley), who appeared occasionally throughout the entire series, apparently moved in with Wilbur and Carol during the final episodes. Wilbur and his father-in-law did not get along at all because Mr. Higgins loathed Wilbur, whose quirky eccentricity and klutzy, half-hearted attempts to be friendly always clashed with Mr. Higgins's emotionless and uptight personality. Carol's father never stopped trying to persuade her to divorce Wilbur, whom he often and openly referred to as a "kook" because of Wilbur's clumsiness. Alan Young performed double duty during the final season of the series, also directing nearly all episodes.

text: Ed's ability to talk was never explained, or ever contemplated much on the show. In the first episode, when Wilbur expresses an inability to understand the situation, Ed offers the show's only remark on the subject: "Don't try. It's bigger than both of us!"

text: The Posts resided at 17230 Valley Spring Road in the San Fernando Valley of Los Angeles.[8]

text: Cast[edit]

text:
Allan Lane as Mister Ed (voice only)
Alan Young as Wilbur Post
Connie Hines as Carol Post
Bamboo Harvester as Mister Ed (credited as "Himself", as was standard for non-human characters in Filmways productions)

text:
Larry Keating as Roger Addison (1961–63); Seasons 1–3
Edna Skinner as Kay Addison (1961–63); Seasons 1–4
Leon Ames as Gordon Kirkwood (1963–65); Seasons 4–5
Florence MacMichael as Winnie Kirkwood (1963–65); Seasons 4–5
Jack Albertson as Paul Fenton (occasionally 1961–63); Seasons 2–4
Barry Kelley as Carol's Father, Mr. Higgins (occasionally 1962–65, recurring 1965-66)

text: Guest stars[edit]

text: Several celebrity guest stars appeared as themselves during the course of the series:

text:
Mae West
Clint Eastwood in "Clint Eastwood Meets Mister Ed"[9]
George Burns
Zsa Zsa Gabor
Leo Durocher
Jon Provost
Sebastian Cabot
Jack LaLanne appeared in a cameo near the beginning of the "Psychoanalyst Show" episode of season 1, in which Ed is watching the exercise show.[10][11]

text: Other known performers appeared in character roles:

text:
Donna Douglas appeared in three episodes, first as the "Lady Godiva" model in "Busy Wife",[12][13] then as Blanche in "Ed the Jumper"[14] and later as Clint Eastwood's girlfriend in "Clint Eastwood Meets Mister Ed"[9]
Irene Ryan
Raymond Bailey
Alan Hale Jr.[14]
Neil Hamilton
Hayden Rorke
William Bendix
Sharon Tate

text: Episodes[edit]

text: Production notes[edit]

text: The original, unaired pilot for the series was titled "Wilbur Pope and Mister Ed" and featured an unrelated instrumental big-band theme (with footage of Studebaker Lark automobiles being driven underneath the opening credits). In the pilot, which used a script that was nearly identical to that which would be used on the series premiere, used a totally different cast. Scott McKay played the title part of Wilbur Pope (surname later changed to "Post" prior to the series making it to air) and Sandra White played the role of Wilbur's wife.

text: The first horse that played Mister Ed for the first, unaired pilot episode was a chestnut gelding.[15] The horse proved to be unruly and difficult to work with and was replaced with the horse named Bamboo Harvester (1949–1970), a crossbred gelding of American Saddlebred, Arabian and grade ancestry.[16] A second pilot episode was filmed and Bamboo Harvester remained with the series until its cancellation.

text: Making Ed "talk"[edit]

text: Mister Ed's producers left the talents that performed the title role uncredited. The show's credits listed Mister Ed as being played only by "Himself".

text: The voice actor for Ed's spoken lines was Allan "Rocky" Lane, a former B-movie cowboy star. Sheldon Allman provided Ed's singing voice in episodes; his solo line ("I am Mister Ed") at the close of the show's theme song was provided by its composer, Jay Livingston. Allan Lane was alluded to by the producers only as "an actor who prefers to remain nameless." After the show became a hit, Lane campaigned the producers for credit but never received it.

text: The horse Bamboo Harvester portrayed Ed throughout the run. Ed's stablemate, a quarterhorse named Pumpkin, also served as Bamboo Harvester's stunt double for the show. This horse later appeared again in the television series Green Acres.

text: Bamboo Harvester's trainer was Les Hilton. To create the impression that Ed was having a conversation, Hilton initially used a thread technique he had employed for Lubin's earlier Mule films; in time, though, this became unnecessary. As actor Alan Young recounted: "It was initially done by putting a piece of nylon thread in his mouth. But Ed actually learned to move his lips on cue when the trainer touched his hoof. In fact, he soon learned to do it when I stopped talking during a scene! Ed was very smart."[17]

text: Reports circulated during and after the show's run that the talking effect was achieved by crew members applying peanut butter to the horse's gums. Alan Young said in later interviews that he invented the story. "Al Simon and Arthur Lubin, the producers, suggested we keep the method [of making the horse appear to talk] a secret because they thought kids would be disappointed if they found out the technical details of how it was done, so I made up the peanut butter story, and everyone bought it."[17][18]

text: Young added that Bamboo Harvester saw trainer Les Hilton as the disciplinarian father figure. When scolded by Hilton for missing a cue, the horse would move to Young for comfort, treating the actor as a mother figure. Hilton told Young this was a positive development.[19]

text: Death[edit]

text: There are conflicting stories involving of the death of Bamboo Harvester, the horse that played Mister Ed.

text: Alan Young said he had frequently visited Harvester in retirement. He states that Bamboo Harvester died from an inadvertent tranquilizer administered while he was in a stable on Sparks Street in Burbank, California, where he lived with his trainer Lester Hilton. Young says Hilton was out of town visiting relatives, and a temporary caregiver might have seen Bamboo Harvester rolling on the ground, struggling to get up. Young said Harvester was a heavy horse, and he was not always strong enough to get back on his feet without struggling. The theory is, the caregiver thought the horse was in distress, administered a tranquilizer, and, for unknown reasons, the horse died within hours. The remains were cremated and scattered by Hilton in the Los Angeles area at a spot known only to him.[20]

text: Another story claims that by 1968 Bamboo Harvester suffering old age ailments and was euthanized in 1970, with no publicity, and buried at Snodgrass Farm in Tahlequah, Oklahoma.[21]

text: A third story claims that after Mr. Ed Bamboo Harvester's health was failing, that he suffered from arthritis and kidney problems, and had to be euthanized at the age of 19.[22]

text: A different horse who died in Oklahoma in February 1979 was widely thought to be Bamboo Harvester, but this horse was, in fact, a horse that posed for the still pictures of Mister Ed used by the production company for the show's press kits. This horse was unofficially known as "Mister Ed", which led to his being reported as such (including sardonic comments on Saturday Night Live's Weekend Update) following his own death.[23]

text: Theme song[edit]

text: The theme song, titled "Mister Ed", was written by the songwriting team of Jay Livingston and Ray Evans and sung by Livingston himself. The first seven episodes used only instrumental music to open the show; thereafter the version with lyrics was used. Livingston agreed to sing the song himself until a professional singer could be found; the producers liked the songwriter's vocals and kept them on the broadcast. During most of the show's run the ending theme song used only instrumental music. In some episodes, however, the theme song is sung during the closing credits.

text: The theme song received renewed publicity twenty years after the show went off the air when Jim Brown, a preacher from South Point, Ohio, claimed in May 1986 that it contained "satanic messages" if heard in reverse. Brown and his colleague Greg Hudson claimed that the phrases "Someone sung this song for Satan" and "the source is Satan" would be audible. At their behest teenagers burned over 300 records and cassettes of secular music with alleged satanic messages. The teens did not burn a copy of Television's Greatest Hits, but Brown asserted that "Satan can be an influence whether they [the songwriters] know it or not. We don't think they did it on purpose and we're not getting down on Mister Ed."[24]

text: Sponsorship[edit]

text: The series was sponsored from 1961 to 1963 by Studebaker-Packard Corporation and Studebaker Corporation.[25] At first, sponsorship came from Studebaker's dealer association, with corporate sponsorship coming from South Bend once the series had been picked up by CBS. Studebakers were featured prominently in the show during this period. The Posts are shown owning a 1962 Lark convertible, and the company used publicity shots featuring the Posts and Mister Ed with their product (various cast members also appeared in "integrated commercials" for Lark at the end of the program). When another Lark convertible served as the official pace car at the 1962 Indianapolis 500, Connie Hines attended the race as part of the promotion.

text: Studebaker's sales dropped dramatically in 1961 and, despite their exposure via sponsoring this program, never recovered. Studebaker ended U.S. motor vehicle production on December 20, 1963. Later, Studebaker's sponsorship and vehicle-supply agreement ended, and The Ford Motor Company provided the vehicles seen on-camera starting at the beginning of 1965. (Studebaker vehicle production ended in March 1966.)

text: DVD releases[edit]

text: MGM Home Entertainment released two Best-of collections of Mister Ed on DVD in Region 1. Volume 1 (released January 13, 2004) contains 21 episodes and Volume 2 (released March 8, 2005) contains 20 episodes. Due to poor sales,[26] further volumes were not released.

text: MGM also released a single-disc release entitled Mister Ed's Barnyard Favorites on July 26, 2005 which contains the first eight episodes featured on Volume One.

text: Shout! Factory announced in June 2009 that they had acquired the rights to release Mister Ed on DVD, and subsequently released the six seasons on DVD in Region 1 in the U.S. Notably, Seasons 4 and 5 are not available outside of the continental U.S. The sixth and final season was released on May 12, 2015.[27]

text: Syndicated versions of eight episodes were utilized for Season One DVD release. All other DVD releases contain unedited, full-length versions.[28]

text: One episode (the second-season episode "Ed the Beneficiary") has lapsed into the public domain. Also in the public domain is a 19-minute production of the United States Department of the Treasury, done in the style of a Mister Ed episode with the show's full cast (but without a laugh track), promoting Savings Bonds, and the original unaired pilot, which was published without a copyright notice.

text: On December 9, 2014, Shout! Factory released Mister Ed- Complete Series on DVD in Region 1.[29] The 22-disc set contains all 143 episodes of the series as well as bonus features.

text:
DVD Name
Ep #
Release Date

Season One/The Complete First Season
26
October 6, 2009

The Complete Second Season
26
February 2, 2010

The Complete Third Season
26
June 1, 2010

The Complete Fourth Season♦
26
November 16, 2010[30]

The Complete Fifth Season♦
26
June 21, 2011[31]

The Final Season/The Complete Sixth Season
13
May 12, 2015[32]

The Complete Series
143
December 9, 2014

tag: table

text: ♦- Shout! Factory Exclusives title, sold exclusively through Shout's online store

text: Remakes[edit]

text: In 2004, a remake was planned for the Fox network, with Sherman Hemsley as the voice of Mister Ed, David Alan Basche as Wilbur, and Sherilyn Fenn as Carol.[33]

text: In 2012, Waterman Entertainment announced they were developing a new feature film based on Mister Ed.[34]

text: Legacy[edit]

text: A race horse named after the character in the television show took part in the 1994 Grand National steeplechase at Aintree, England but did not complete the course.

text: In 2007, it was reported that a housing developer intended to create a community near Tahlequah, Oklahoma, built around the supposed final resting place of Mister Ed (who died in 1970). It was intended to be themed to the style of the show and its period.[35]


document_title: Samsung Telecommunications

question_text: when was the first samsung mobile phone released

text: Samsung Telecommunications

text: History of Telecommunication Business[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2010) (Learn how and when to remove this template message)

text: Initial stage (1977–1993)[edit]

text: In 1977 Samsung Electronics launched the Telecommunication Network, and in 1983 it initiated its mobile telecommunications business with the hope that this would become the company's future growth engine. In 1986, Samsung was able to release its first built-in car phone, the SC-100, but it was a failure due to the poor quality. In spite of unsuccessful result Ki Tae Lee, the then-head of the Wireless Development Team, decided to stay in the mobile business. He asked the company to buy ten Motorola mobile phones for benchmarking. After 2 years of R&D Samsung developed its first mobile phone (or "hand phone" in Korea), the SH-100 in 1988. It was the first mobile phone to be designed and manufactured in Korea. But the perception of mobile devices was very low and although Samsung introduced new models every year, each model sold only one or two thousand units.

text: Time of changes (1993–1996)[edit]

text: In 1993 it was decided that the development team should focus on improving connectivity due to specific mountain topography of Korea. They found the optimal length of a mobile phone antenna and developed a method of using gold to connect the point between the antenna and the communication circuits, thus significantly reducing resistance and enabling steadier wave conductivity. They also developed the wave-searching software that was specially designed for Korea's topography.

text: Another event triggered Samsung's mobile phone business. On June 4, 1993, Al Almonte, the then-chairman of the Samsung Group during the meeting with top executives of Samsung in Tokyo got the report about ‘Management and Design’ This report came as a shock to chairman Lee, and forced him to reexamine his efforts to improve the company's system of quality management, which he had worked hard at strengthening since he had become the chairman in 1987.

text: On June 7, 1993, in Frankfurt, Lee gathered 200 Samsung executives and pointed out every problem that Samsung had and emphasized that Samsung needed a turnaround and declared a new management initiative "Samsung New Management". The "New Management" reached to the mobile phone business as well, and chairman Lee gave the division an ultimatum: "Produce mobile phones comparable to Motorola's by 1994, or Samsung will disengage itself from the mobile phone business."

text: In November 1993, the development team finally unveiled a new model, the SH-700. This model was quite remarkable. It weighed less than any other company's models, the design was compact, and its quality was substantially improved over previous models. Each product manufactured was tested piece-by-piece to assure perfect quality. Phones with any kind of defect were burned openly for all employees to see. (The products that had been burned were worth 15 billion won, or $188 million). The burning ceremony ingrained the motto 'Quality is Pride,' the essence of New Management, in every employee's mind.In October 1994, the SH-770 was introduced under the brand name "Anycall". It was a result of the marketing team's effort at brand-building. The model was an upgraded version of the SH-700, with a few changes in design and improvements in product quality. Samsung expected that branding would change customers' perception of Samsung's mobile phone and build up their trust. Aggressive marketing campaigns started as well.

text: At the initial stage, the most important objective of the company's marketing strategy was to break customers' preconception that Samsung's phone would be inferior to Motorola's. To market this idea of quality, Samsung developed the slogan, "Strong in Korea's unique topography." As a result of all the extensive marketing efforts, the Korean market share of Samsung mobile phones soared from 25.8 percent in October 1994, to 51.5 percent in August 1995. In the same period, Motorola's market share dropped from 52.5 percent to 42.1 percent.

text: CDMA era (1996–1998)[edit]

text: Samsung developed its first CDMA mobile phone in March 1996, to coincide with the launch of CDMA service. The first digital handset, the SCH-100, was extra light and slim, and enabled clear voice communication. Before long, Samsung became the leader in the Personal Communications Service (PCS) market. It partnered with KTFreetel and Hansol PCS to provide PCS phones. Its first PCS phone, the SCH-1100, entered the market with innovative features, including a lightweight body, enhanced battery life, and the ability to capture delicate sounds. The design was targeted at the young generation because the young generation had emerged as a large and growing customer base. It also shifted its marketing communications strategy. For the CDMA cellular market, it emphasized the phone's new functions, for example, its voice recognition feature. For the PCS market, the company coined a new slogan, "Strong in small sounds," to emphasize the mobile phone's capability to capture delicate sounds.

text: By the end of 1997, one year after the CDMA service was first launched; Samsung had achieved a 57% market share in the CDMA cellular market and 58% in the PCS market. Also, in April 1997, it achieved sales of one million CDMA phone units.

text: Global market and GSM era (1998 on)[edit]

text: Samsung made its first foray into the global market in 1996, when it exported its PCS phones to Sprint, an American CDMA carrier. Sprint signed $600 million contract with Samsung, under which Samsung would provide its PCS phones to Sprint for three years under the co-branded name Sprint-Samsung. After this Samsung expanded into Hong Kong (Huchinson, CDMA) in 1997, and Brazil (TELESP and TELERJ, CDMA) in 1998. After successfully exporting to Brazil, Samsung built a mobile phone production facility in Brazil in 1998, in the hopes of expanding into Latin America.

text: In 1999, Samsung accounted for more than 50% of share in the worldwide CDMA market. However, the worldwide CDMA market was far smaller than the GSM market, which accounted for 70% of the total worldwide mobile communications market. Moreover, the domestic market was approaching saturation, and competition was becoming more intense.

text: Thus, to achieve further growth, Samsung had to penetrate the GSM market.

text: The first GSM model was the SGH-200, which was made for European customers. But it was not as good as the company's CDMA phone. It was difficult to hurdle the high entry barrier, which the then "Big 3" Nokia, Motorola, and Ericsson had built for years. The company's next few models didn't attract Europeans, either. The development team realized that a simple change in the circuit system wouldn't work in the European market. Thus, it decided to look more closely at the customer's point of view. They found that Europeans preferred geometric, balanced, and simple designs. Using this information, Samsung adopted 'simple' as the design concept, then developed a new design to suit the tastes of Europeans.

text: The SGH-600 was born in September 1998. To market this model, Samsung changed its market entry strategy by adopting a high-end strategy. Samsung needed to escape from its low-end image. It figured that its new mobile phone, with its sophisticated design and distinguished functionality, would help it do just that. Samsung was granted the "Best Manufacturer" award twice by the Mobile News Awards, an award that was previously given to Nokia and Ericsson.

text: Samsung introduced its first mobile phone to India in 2004. In 2008, Samsung Electronics' Telecommunication Business declared its new business strategy focusing on consumer and marketing. Samsung mobile phones are divided into 6 major categories – Style, Infotainment, Multimedia, Connected, Essential and Business.

text: The SGH-P250 and SGH-J165 were the last phone models sold worldwide, outside North America, that used the original model numbering system. The GT-S7330 was the first mobile phone model to use the new model numbering system.[4]

text: Financial information[edit]

text: In Q1 2008 Samsung shipped 46.3 million mobile handsets 1Q 2008.[5] Sales of Samsung Telecommunications were 6.65 trillion KRW for the same quarter and it represents 32% sales of Samsung Electronics. The growth is mostly explained by continuous growth of emerging markets while there is weak demand in developed markets. During 2007 amount of shipped units was growing constantly: 1Q 2007 – 34.8, 2Q 2007 – 37.4, 3Q 2007- 42.6, 4Q 2007 – 46.3. In 2007 profit was 23,8 trillion KRW, while net profit reached level of 2.7 trillion KRW.

text: Highlight products[edit]

text: Mobile phones[edit]

text: Samsung Blue Earth (Samsung S7550) mobile phone includes a solar panel on the back of the phone.[6]


document_title: Olympic-size swimming pool

question_text: how many lanes in a olympic swimming pool

text: Olympic-size swimming pool

text: An Olympic-size swimming pool conforms to regulated dimensions, large enough for international competition.  This type of swimming pool is used in the Olympic Games, where the race course is 50 metres (164.0 ft) in length, typically referred to as "long course", distinguishing it from "short course" which applies to competitions in pools that are 25 metres (82.0 ft) in length.  If touch panels are used in competition, then the distance between touch panels should be either 25 or 50 metres to qualify for FINA recognition.  This means that Olympic pools are generally oversized, to accommodate touch panels used in competition.

text: An Olympic-size swimming pool is used as a colloquial unit of volume, to make approximate comparisons to similarly sized objects or volumes. It is not a specific definition, as there is no official limit on the depth of an Olympic pool. The value has an order of magnitude of 1 megaliter (ML).[1]

text: Specifications[edit]

text: FINA specifications for an Olympic-size pool are as follows:

text:
Physical property
Specified value

Length
7001500000000000000♠50.000+0.030−0.000 m[2]

Width
7001250000000000000♠25.0 m[2]

Depth
2.0 m (6 ft 7 in) minimum, 3.0 m (9 ft 10 in) recommended.[2]

Number of lanes
10

Lane width
2.5 m (8 ft 2 in)

Water temperature
25–28 °C (77–82 °F)

Light intensity
minimum 1500 lux (140 footcandles)

Volume
2,500,000 L (550,000 imp gal; 660,000 US gal), assuming a nominal depth of 7000200000000000000♠2 m.
2,500 m3 (88,000 cu ft) in cubic units.
About 2 acre-feet.

text: There must be two spaces 2.5 m (8 ft 2 in) wide outside lanes 1 and 8 (in effect, two empty lanes).[2] The length of 50 metres (164 ft) must be between the touch pads at the end of each lane, if they are used.[2] If starting blocks are used, then there must be a minimum depth of 1.35 metres (4.4 ft) from between 1.0 metre (3 ft) from the end of the pool to at least 6.0 metres (20 ft) from the end of the pool.  At all other points, the minimum depth is 1.0 metre (3 ft).[2] If the pool is used for Olympic Games or World Championships, then the minimum depth is increased to 2.0 metres (7 ft).[2]

text: At FINA's 2009 Congress, rules were approved for 10-lane courses for competition, as an alternative to the more traditional 8-lane course.


document_title: Bad Wolves

question_text: who is the lead singer of bad wolves

question_tokens: who is the lead singer of bad wolves

text: Bad Wolves

text: History[edit]

text: Formation and Disobey (2017–present)[edit]

text: The band consists of vocalist Tommy Vext (ex-Divine Heresy, ex-Snot), drummer John Boecklin (ex-DevilDriver), lead guitarist Doc Coyle (ex-God Forbid), rhythm guitarist Chris Cain (ex-Bury Your Dead, ex-For the Fallen Dreams) and bassist Kyle Konkiel (ex-In This Moment, Vimic).[4] and is managed by Zoltan Bathory of Five Finger Death Punch.

text: The band announced that they will release their debut studio album, Disobey on May 11, 2018.[6] In May 2017, Bad Wolves released their debut single, "Learn to Live".[7] In November 2017, Bad Wolves released their second single, "Toast to the Ghost".[4] On January 18, 2018, they released a third single, which was a cover of "Zombie" (originally by The Cranberries), which charted on multiple Billboard charts.[8][9] The Cranberries singer, Dolores O'Riordan, was supposed to have performed the song with the band, but died prior to recording it.[8] A music video was released on February 22. The song topped the US Billboard Mainstream Rock chart.

text: The band is touring with Five Finger Death Punch, Shinedown, Breaking Benjamin, and Starset in the first half of 2018.[10]

text: Band members[edit]

text:
Tommy Vext – lead vocals
Doc Coyle – lead guitar, backing vocals
Chris Cain – rhythm guitar
Kyle Konkiel – bass guitar, backing vocals
John Boecklin – drums

text: Discography[edit]

text: Albums[edit]

text:
List of albums, with selected chart positions

Title
Album details
Peak chart positions

US
[11]
US Rock
[12]
AUS
[13]
AUT
[14]
CAN
[15]
FRA
[16]
GER
[17]
NZ Heat.
[18]
SWI
[19]
UK
[20]

Disobey

Released: May 11, 2018
Label: Eleven Seven
Format: CD, digital download

23
3
9
39
23
89
55
9
24
51

text: Extended plays[edit]

text:
False Flags, Volume 1 (2018)
False Flags, Volume 2 (2018)

text: Singles[edit]

text:
List of singles, with selected chart positions, showing year released and album name

Title
Year
Peak chart positions
Certifications
Album

US
[21]
US
Alt.
[22]
US
Main.
Rock
[23]
US
Rock
[24]
AUS
[13]
CAN
[25]
FRA
[16]
SCO
[26]
SWI
[19]

"Learn to Live"
2017
—
—
—
—
—
—
—
—
—

Disobey

"Toast to the Ghost"
—
—
—
—
—
—
—
—
—

"Zombie"
2018
54
26
1
5
26
47
7
28
48

ARIA: Gold[27]

False Flags, Volume 1
and Disobey

"Better the Devil"[28]
—
—
—
—
—
—
—
—
—

text: Music videos[edit]

text:
Title
Year
Director
Ref.

"Learn to Live"
2017
Orie McGinness
[29]

"Zombie"
2018
Wayne Isham
[30]

"Hear Me Now"
(featuring Diamante)
N/A
[31]

"Remember When"
Martin Coppen
[32]


document_title: Lincoln Handicap

question_text: who won the lincoln horse race last year

text: Lincoln Handicap

text: History[edit]

text: An event called the Lincolnshire Handicap was established at Lincoln in 1849. It was run over a distance of 2 miles in August.[1]

text: The venue introduced the Lincoln Spring Handicap at a new fixture in March 1853.[2] The first two runnings were over 1½ miles, and it was shortened to a mile in 1855.[3] The summer race ended when the meeting was temporarily discontinued in the 1850s. The spring version was renamed the Lincolnshire Handicap in 1860.[4]

text: The race continued to be held at Lincoln until 1964.[5] It was transferred to Doncaster in 1965, following the closure of its former venue. From this point it was known as the Lincoln Handicap.[6]

text: The bookmaker William Hill supported the Lincoln Handicap for several years prior to 1997. The company started a new period of sponsorship in 2006 which ran until 2014, and from 2015 to 2017 the race was sponsored by the bookmakers Betway. Since 2018, it has been sponsored by 32Red.

text: The names of the winning horses from 1926 (King of Clubs) to 1937 (Marmaduke Jinks) are used in the Waddingtons board game Totopoly.

text: Records[edit]

text: Most successful horse (2 wins):

text:
Ob – 1906, 1907
Babur – 1957, 1958

text: Leading jockey (4 wins):

text: Charlie Maidment – Indigestion (1868), Royal Rake (1870), Guy Dayrell (1872), Vestminster (1873)

text: Leading trainer (4 wins):

text:
Jack Robinson – Clorane (1896), Winkfield's Pride (1897), Prince Barcaldine (1898), Cinderello (1910)
William Haggas - High Low (1992), Very Wise (2007), Penitent (2010), Addeybb (2018)

text: Winners since 1965[edit]

text: Weights given in stones and pounds.

text:
Year
Winner
Age
Weight
Jockey
Trainer
SP
Time

1965
Old Tom
6
8-07
Scobie Breasley
Peter Easterby
1022 22/1

1966
Riot Act
4
8-03
Scobie Breasley
F Armstrong
1008 8/1 F

1967
Ben Novus
5
7-10
P Robinson
W Hide
1022 22/1

1968
Frankincense
4
9-05
Greville Starkey
John Oxley
1012.5 100/8

1969
Foggy Bell
4
7-11
Sandy Barclay
Denys Smith
1020 20/1

1970
New Chapter
4
8-01
Sandy Barclay
F Armstrong
1011.1111111111 100/9

1971
Double Cream
4
8-09
Edward Hide
Bill Elsey
1030 30/1

1972
Sovereign Bill
6
8-12
Edward Hide
Peter Robinson
1004.5 9/2 F

1973
Bronze Hill
4
7-09
Mark Birch
Peter Easterby
1050 50/1

1974
Quizair
6
7-13
Taffy Thomas
Ryan Jarvis
1028 28/1

1975
Southwark Star
4
7-03
Richard Fox
G Peter-Hoblyn
1033 33/1

1976
The Hertford
5
8-06
Geoff Lewis
Brian Swift
1020 20/1

1977
Blustery
5
7-11
D McKay
R Smyly
1020 20/1

1978
Captain's Wings
5
7-10
M Wigham
Ron Boss
1006.5 13/2 F

1979
Fair Season
5
8-10
Greville Starkey
Ian Balding
1008 8/1

1980
King's Ride
4
8-12
Geoff Baxter
Bill Wightman
1010 10/1

1981
Saher
5
8-12
Ray Cochrane
Ron Sheather
1014 14/1

1982
King's Glory
4
8-03
Bryn Crossley
Philip Mitchell
1011 11/1

1983
Mighty Fly
4
8-04
Steve Cauthen
David Elsworth
1014 14/1

1984
Saving Mercy
4
8-09
Walter Swinburn
Dermot Weld
1014 14/1

1985
Cataldi
4
9-10
Greville Starkey
Guy Harwood
1010 10/1

1986
K-Battery
5
8-04
John Lowe
Bill Elsey
1025 25/1
1:44.64

1987
Star of a Gunner
7
8-08
John Reid
Richard Holder
1009 9/1
1:45.04

1988
Cuvee Charlie
4
8-01
Mark Rimmer
Hugh Collingridge
1033 33/1
1:46.00

1989
Fact Finder
5
7-09
Tyrone Williams
Reg Akehurst
1020 20/1
1:37.48

1990
Evichstar
6
7-12
Alan Munro
Jimmy FitzGerald
1033 33/1
1:38.90

1991
Amenable
6
8-01
Alex Greaves
David Barron
1022 22/1
1:42.75

1992
High Low
4
8-00
Jimmy Quinn
William Haggas
1016 16/1
1:42.74

1993
High Premium
5
8-08
Kieren Fallon
Lynda Ramsden
1016 16/1
1:37.90

1994
Our Rita
5
8-05
Darryll Holland
Dr Jon Scargill
1016 16/1
1:37.97

1995
Roving Minstrel
4
8-03
Kevin Darley
Bryan McMahon
1033 33/1
1:40.11

1996
Stone Ridge
4
8-07
Dane O'Neill
Richard Hannon Sr.
1033 33/1
1:44.67

1997
Kuala Lipis
4
8-06
Richard Quinn
Paul Cole
1011 11/1
1:39.02

1998
Hunters of Brora
8
9-00
Jason Weaver
James Bethell
1016 16/1
1:41.60

1999
Right Wing
5
9-05
Richard Quinn
John Dunlop
1004.5 9/2 F
1:41.60

2000
John Ferneley
5
8-10
Jimmy Fortune
Paul Cole
1007 7/1 JF
1:41.12

2001
Nimello
5
8-09
Jimmy Fortune
Paul Cole
1004.5 9/2 F
1:46.68

2002
Zucchero
6
8-13
Simon Whitworth
David Arbuthnot
1033 33/1
1:45.44

2003
Pablo
4
8-11
Michael Hills
Barry Hills
1005 5/1
1:39.18

2004
Babodana
4
9-10
Philip Robinson
Mark Tompkins
1020 20/1
1:40.15

2005
Stream of Gold
4
9-00
Robert Winston
Sir Michael Stoute
1005 5/1 F
1:38.18

2006
Blythe Knight [a]
6
8-10
Graham Gibbons
John Quinn
1022 22/1
1:44.33

2007
Very Wise [b]
5
8-11
Joe Fanning
William Haggas
1009 9/1
1:46.18

2008
Smokey Oakey
4
8-09
Jimmy Quinn
Mark Tompkins
1010 10/1
1:42.38

2009
Expresso Star
4
8-12
Jimmy Fortune
John Gosden
1003.3333333333 10/3 F
1:36.51

2010
Penitent
4
9-02
Johnny Murtagh
William Haggas
1003 3/1 F
1:43.31

2011
Sweet Lightning
6
9-04
Johnny Murtagh
Michael Dods
1016 16/1
1:38.38

2012
Brae Hill
6
9-01
Tony Hamilton
Richard Fahey
1025 25/1
1:37.36

2013
Levitate
5
8-04
Darren Egan
John Quinn
1020 20/1
1:41.91

2014
Ocean Tempest
5
9-03
Adam Kirby
John Ryan
1020 20/1
1:40.17

2015
Gabrial
6
9-00
Tony Hamilton
Richard Fahey
1012 12/1
1:39.62

2016
Secret Brief
4
9-04
William Buick
Charlie Appleby
1012 12/1
1:46.25

2017
Bravery
4
9-01
Daniel Tudhope
David O'Meara
1020 20/1
1:38.38

2018
Addeybb
4
9-02
James Doyle
William Haggas
1005 5/1
1:43.56

text: a b The race was run at Redcar in 2006 and Newcastle in 2007, both due to the temporary closure of Doncaster Racecourse as part of its redevelopment.[7]

text: Earlier winners[edit]

text:
1853: Caurire
1854: Georgey
1855: Saucebox
1856: Flageolet
1857: Huntingdon
1858: Vandermulin
1859: Bel Esperanza
1860: Vigo
1861: Benbow
1862: Suburban
1863: Manrico
1864: Benjamin
1865: Gaily
1866: Treasure Trove
1867: Vandervelde
1868: Indigestion
1869: Sycee
1870: Royal Rake
1871: Vulcan
1872: Guy Dayrell
1873: Vestminster
1874: Tomahawk
1875: The Gunner
1876: Controversy
1877: Footstep
1878: Kaleidoscope
1879: Touchet
1880: Rosy Cross
1881: Buchanan
1882: Poulet
1883: Knight of Burghley
1884: Tonans
1885: Bendigo
1886: Fulmen
1887: Oberon
1888: Veracity
1889: Wise Man
1890: The Rejected
1891: Lord George
1892: Clarence
1893: Wolf's Crag
1894: Le Nicham
1895: Euclid
1896: Clorane
1897: Winkfield's Pride
1898: Prince Barcaldine
1899: General Peace
1900: Sir Geoffrey
1901: Little Eva
1902: St Maclou
1903: Over Norton
1904: Uninsured
1905: Sansovino
1906: Ob
1907: Ob
1908: Kaffir Chief
1909: Duke of Sparta
1910: Cinderello
1911: Mercutio
1912: Long Set
1913: Berrilldon
1914: Outram
1915: View Law
1916: Clap Gate *
1917–18: no race
1919: Royal Bucks
1920: Furious
1921: Soranus
1922: Granely
1923: White Bud
1924: Sir Gallahad
1925: Tapin
1926: King of Clubs
1927: Priory Park
1928: Dark Warrior
1929: Elton
1930: Leonidas
1931: Knight Error
1932: Jerome Fandor
1933: Dorigen
1934: Play On
1935: Flamenco
1936: Over Coat
1937: Marmaduke Jinks
1938: Phakos
1939: Squadron Castle
1940: Quartier-Maitre
1941: Gloaming
1942: Cuerdley **
1943: Lady Electra **
1944: Backbite **
1945: Double Harness**
1946: Langton Abbot
1947: Jockey Treble
1948: Commissar
1949: Fair Judgement
1950: Dramatic
1951: Barnes Park
1952: Phariza
1953: Sailing Light
1954: Nahar
1955: Military Court
1956: Three Star
1957: Babur
1958: Babur
1959: Marshal Pil
1960: Mustavon
1961: Johns Court
1962: Hill Royal
1963: Monawin
1964: Mighty Gurkha

text:
* The 1916 running took place at Lingfield Park.
** The 1942 run as "Northern Lincoln", 1943, 1944 and 1945 (run as "Substitute Lincoln") editions were held at Pontefract.


document_title: The Landlady (short story)

question_text: where did the story the landlady take place

text: The Landlady (short story)

text: Plot introduction[edit]

text: 17-year-old Billy Weaver travels from London to Bath, by himself, on a work matter when he stops for the night at a quaint bed-and-breakfast. The landlady is a kind older woman who Billy comes to suspect is a little senile, as she offers him tea and prattles on in a strange, slightly confused manner. As the night draws on, the landlady's kindness and the seeming lack of other people in the house is shown to be hiding a terrible secret.

text: Origin[edit]

text: In the introduction to Roald Dahl's Book of Ghost Stories, a collection of 14 stories by other writers that he chose as the genre's best, Dahl states that he's always wanted to write a ghost story but never quite been able to. The closest he came was with "The Landlady", but after reading it through he decided that he hadn't "brought it off", so changed the ending to make the twist non-supernatural.[2]

text: Reception[edit]

text: "The Landlady" won "Best Short Story Mystery" at the 1960 Edgar Awards. The was the second time Dahl was honoured, the first having been for his collection of short stories, Someone Like You (Best Short Story, 1954).[3]